New York's guitarist Alexander Turnquist penned the
guitar and electronics meditations of
Faint at the Loudest Hour (VHF, 2007), including
four lengthy suites that bridge
Terry Riley's hypnotic repetition and
John Fahey's daydreaming stream of consciousness:
the humble impressionistic Amongst A Swarm Of Hummingbirds,
the tense and brooding In The Vein Of Bedlam,
Water Spots Upon My Mind,
and the brainy and cinematic Mime Fight.
The mini-album Apneic (2007) includes an even more ambitious piece,
the 23-minute Electric Lines, although in a more abstract and rarefied
style.

As the Twilight Crane Dreams in Color (VHF, 2009) added
chamber instruments (cello, piano, vibraphone and violin) to the guitar's
dancing technique. The album collects three lengthy pieces:
the 18-minute The REM Cycle Dream Phase - Dream Phase, in which
the guitar's prayer-like petulance and limping rhythm,
backed by the sparse funereal notes of the other instruments,
evokes a sense of metaphysical yearning and eventually plunges into
a droning silence;
the radiant and restless 16-minute Statues In The Dark - Shadows Collide,
structured as a fractal-like crescendo of crescendoes (Pachelbel's Canon
on speed);
and the ten-minute Dancing In Borealis - Ribbons Of Vivacity,
perhaps the most touching of the three,
in which the quick-fire looping patterns of the guitar propel the delicate
piano melody.

Hallway Of Mirrors (VHF, 2011),
which is occasionally chromatic for the sake of being chromatic and intricate for the sake of being intricate (Spherical Aberrations),
contains one ambitious composition,
the 16-minute intricate Waiting At The Departure Gate, whose progressions
occasionally evoke
Michael Nyman's neobaroque brand of
minimalism and whose leitmotiv is reminiscent of Balkan folk music.